Accident on Hill Road

Tuesday, January 29, 2013

Mumbai: The nurse Sonam Chopra (Celina Jaitley) has got a job with the Red Cross in London and celebrated omitted with her ​​friend, the drug dealer and sensualist Sid (Abhimanyu Singh). Completely drunk she drives home later and speeds your car on the Hill Road in the old Prakash Srivastava (Farooq Shaikh), whose wife has just died, and therefore disoriented wanders through the city. The man crashes by Sonam's windshield. In a panic, she asks Sid for help, but you are even more drugs. Sid When she wakes up and away Sonam has its own deal with the dead body in her car. Only now she realizes that the guy is still alive!

Stuck by horror director Stuart Gordon is a curious little work, which is based on a true case from 2001 in Texas. Angular and brutal, but it's something too little in it. I would never have dreamed that it is precisely this film would serve as a template for an Indian remake! Accident on Hill Road is it and will even have arisen in a legal way - the producers have paid so little for the rights, do not like 99% of their Indian counterparts. This makes the film certainly is not better, but at least honest. If the statement at all true , because in the credits is not a memo to behold.

The main problem of 'Accident on Hill Road "is his lack of feeling for Bizarre. Gordon proved just a knack for it by letting do Sonam ever wilder things to get rid of their "corpse". Here, the bizarre is not transformed into comprehensible. It begins with the fact that Prakash not really stuck in the windshield, but has struck such a big hole that he could actually ease out scramble again. Sonam's behavior is worse, but this woman is not even as seems obvious.

Even before the accident, she is doing the silliest things - like being together with Sid. It's so obvious that the guy is a creep and Playboy, he leaves a wife for Ecstasy get on your knees. And Sonam itches not great. In short: The woman behaves stupid and daft, really mitbangen one there hardly with her. After Celina Jaitley tried to portray this madness somewhat believable, but it fails mostly because their game looks amateurish and overexcited hysterically. Nevertheless, it suggests co-star Abhimanyu Singh (It's Breaking News) effortlessly. The is as unappealing as boring.

Farooq Shaikh, star of the original Umrao Jaan , who had end of the 90 withdrew from the canvas, is the only one who seems to be in his right mind to some extent - but he is trapped in the motionless part, the original Stephen Rea with a mix played out of desperation and madness. Accident on Hill Road never uses the potential of this ensemble from anyway. Celina has to run mainly so their bust beautiful wiggles in her tight top - one wants to offer the male viewers what. Too bad, because the woman has proven lately that they can not be reduced to the role of sexy Deco Girls.

Ultimately, the question of whom the film will pick up at all. The original placed on Geeks and Horror friends, finally draws the name Stuart Gordon. And the violence mixes well with the curiosity. Here, however, the violence is withdrawn and the film sells itself as a classic thriller, which he frustrated all those who are looking for here nervenzerrende voltage. It is only logical that Accident on Hill Road flopped in Indian cinema. The imagery is fairly solid, Jaitley tried her best and a few oblique scenes come good. But lack of tension, absent logic, hysterical and tedious actors, a regular soundtrack and lack of originality set the project so that everything fizzles interest.

Endhiran The Robot is not a blockbuster among many, but the most anticipated film event by many movie fans around the world the comparison with Avatar to the Indian scale, would not be exaggerated. This worldwide release broke all records starting in the three major industries of Indian cinema: Hindi-Tamil-Telugu. Unprecedented performance for a doubled film that has emerged in Bollywood where 3 Idiots and Dabangg were dethroned, while in Tollywood, where the victim is called Magadheera.

Before being the largest Tamil success of 2010, Endhiran was long the fantasy and cursed project director Shankar (specifically, since the early 2000s). This Tamil blockbuster whose huge budget (200 crore ) has made ​​one of the most expensive films in the history of Indian cinema, has almost never see the day. After Kamal Hasan and Shah Rukh Khan is finally Rajinikanth who inherited the title role in a cast that was enhanced by Aishwarya Rai Bachchan .

Initially it is the prestigious duo Ayngaran-Eros that produced the movie, but the global crisis will force them to withdraw in the middle of filming. No one is then able to assume the costs of production and Endhiran seems destined to oblivion. That's when Sun Pictures posed as savior, yet imposing budget cuts. Will he had compromising on quality? Rajni is it not too old for this role? Aishwarya student in medicine, this is a joke? Many questions rose up until the release of the soundtrack and different trailers that put everyone agrees. And there, whether one is a fan or not, we were forced to admit that this film had the mouth, but then a wild look! Promise or not?

Professor Vaseegaran ( Rajni ) worked for 10 years on his life's work: creating a smart android, able to learn and understand the world around him. Her wish is to leave his invention to the Indian Army. Every hero has his heroine and here it comes Sana ( Aishwarya Rai Bachchan ), a medical student who can not bear the absence of his mad scientist boyfriend, constantly holed up in his lab. Vaseegaran's research eventually leading to the commissioning of the robot ( Rajni ) his mother baptize Chitti. Initially, the robot is illustrated by the heroic exploits that earned him the admiration of all, but learning of life is delicate and is around the corner.

Then comes the scene, the dark professor Bhora (Danny Denzongpa) which is none other than the mentor Vaseegaran. The latter, jealous of his pupil, is responsible for discrediting Chitti reproaching him for his lack of humanity. Disappointed but determined, Vaseegaran take technical measures to provide Chitti feelings. After attempts, on a stormy night, a striking thunder ... Chitti.

Think again, the simplicity of the synopsis fortunately not synonymous with ease, but rather accessibility. In a country where the concept of robot is not present in popular culture, it is necessary to adapt it to the local public. The talent of Shankar is to have introduced this innovation without stupefy its staging, allowing it to maintain the regulars of the genre and of interest to neophytes.

Endhiran is not just a masala sci-fi big budget. It is also a beautiful tribute to the myth of asimovien robot with feelings. Shankar clearly draws inspiration from the founding work of Isaac Asimov Robots . We thus find the themes of respect and transgression of the basic rules of robotics. A robot may not injure a human being or, through inaction, allow a human being to come to harm. A robot must obey orders given to it by a human being, except where such orders would conflict with the first law.

A robot must protect its own existence as long as such protection does not conflict with the First or Second Law. In one scene of the film, Vaseegaran clearly states that did not respect these basic rules established by Asimov. A boldness that will attract him some trouble. The scenario follows the evolution of Chitti, a simple machine according to the guidelines of an android capable of feeling emotions. The film is divided into two parts, the first door on the discovery of the human world by the robot and testing. Then the second half shows the emergence of feelings in Chitti, and the impact that this will engender.

Endhiran is an opportunity to review what the wonderful actor Rajinikanth . Unbelievable but true, aside from the generic animation announcing the Superstar , Rajni is back in exceptional actor, who had been lost for decades. Exit, fly cigarettes (or rather gum flying like Sivaji ), index finger pointed to the sky, steering wheel or gun replicas "punch" that made ​​his famous Superstar . Place inspired by the actor, in the service of the director and his script. Rajni , who endorses here the dual role of the scientist Vaseegaran and Chitti the robot, is an attraction by itself. The Superstar , he remains only the charisma of the actor, reveals an incredible talent!

Her perfect body language and his robot Chitti innocent interpretation of the discovery of the world, attest efforts Rajni to achieve a result which is never a caricature. The actor does not lack to be fun and it has not lost its perfect timing for comedy. When you think you've seen everything, there is still the icing on the cake and Rajni for us a big surprise in the last part of the film, we do not tell you more, but the result is exhilarating.

Rajni is at times hilarious, innocent threatening and moving into the role of the robot Chitti. The actor's performance is not spectacular, but its thoroughness accompanying special effects, and we end up believing that Chitti, a true feat of actor! In an industry where actors take themselves seriously and lose all humility, Rajni laughs with much self-mockery of his advanced age and his wig in a few winks. You'll understand this dual role is Chitti the robot that outweighs Vaseegaran.

Special mention to Chitti 2.0 which is an enjoyable extension of mottai boss (the bald divine) of Sivaji  ! Rajni ignited the jubilant room, where the walls have almost buckle under the decibels of applause! Absolutely beautiful!

After the pavement on Rajinikanth , what is left to the beautiful Aishwarya  ? Well not much, the Superstar crushes everything and there is only little space for the Bachchan bahu (daughter-Bachchan). Aish is stationed in jiggle in the clips and view toothpaste smile for the rest of the film . Yet its role is crucial in the transformation of Chitti and would have benefited from more important. This is one of the criticisms that can be made ​​against Shankar . But can we really blame him, given the genre in which the film evolves? One may wish to rectify the director to read and lay us female characters less vases.

Finally, the villain of the film, Danny Denzongpa, nothing wrong, but its role is reduced and Rajni eventually outperform the radius of infamy, sacred Superstar  ! It's the same scenario for both comedians Santhanam and Karunas, ineffective Stooges and much less funny than Rajni . One wonders what would have made ​​a Vivek at this position. In the end, we can say that many roles are useless because the character of Chitti ends up making them shade in the style of a one-man band. This is surely the commercial need and codes masala that forced the emergence of these stereotypical characters, a mistake Shankar have been avoided.

Side music, AR Rahman is faithful to the station with songs and stakeholders in accordance with the situations. The musical numbers featuring Vaseegaran and Sana, are a pretext to escape. Besides, the clips follow this idea and take us in a beautiful desert dunes in Brazil for Kadhal anukal and Machu Picchu for the delusional Kilimanjaro with Peruvian dancers Mayan Costume (what's the point of calling a song Kilimanjaro if we staged in Peru?). For Chitti, one is initially in a more techno atmosphere Irumbile , before finishing with the grand Arima and symphonic music. Besides the musical hits, the rest of the soundtrack is quite poor. Indeed, in some action scenes where the intensity needs to be reinforced by the music, it is simply absent or minimal. It's very disappointing from an Oscar-winning composer, especially as Shankar belongs with Mani Ratnam , directors loyal to him.

Side clips, Shankar respects the plot of the film by turning those Vaseegaran, "human" in sublime historical and natural settings, while for Chitti, "the robot", one is in the studio with metallic and glittering decorations. Despite working sought embodiment, the musical passages do not fit the film and more like flashy advertisements. Next to this criticism, and paradoxically, it is hard Endhiran without clips flaunt its technical expertise and contribute to the film remains rooted in the kind masala .

We then go to photography, which is sober. Surprisingly, for a film of this size, one would expect an abuse of effects clipesques , but nay! Rathnavelu aka Randy (yes, it's very likely there) preferred to work taking pictures by capturing scenes from novel angles. Special mention for clips shot in unique and unexplored places in the world for Indian cinema. The crystal blue lagoons of the natural park Lençois Maranhenses in Brazil Kadhal anukal and the imposing Machu Picchu Peruvian Kilimanjaro seem to invite into the dark room, as the detail is pushed to its climax. We can only thank Rathnavelu for having transported and makes traveling through his camera, exotic! This aesthetic work is perfectly enhanced by the mounting signed Anthony. We never get bored one second and the film never stagnates. Anthony has worked to make the thrilling scenes, especially in the action scenes where the energy is palpable.

Precisely speaking of action, Peter Hein, whose martial choreography had a hit in Sivaji , handed it to Endhiran but much better. Although Endhiran has many action scenes, there is ultimately only one fight, which takes place on a train. Peter Hein has surrounded the yamakasi French Alex Martin, seen in District 13 , to compose this impressive scene on the screen. Finally, the waterfalls are also of very good quality, especially the frantic chase by car that makes us forget the failed sequence of the outdoor cinema of Sivaji .

Enjoying a comfortable budget, Shankar went for US and Asian technicians to work on the special effects of Endhiran . Announced targets, correct the missteps of his previous films and achieve Hollywood standards in the matter. This mission is successful only in part, because there are very good but the draft. The feat comes from Stan Winston studios whose animatronics are incredible. Whether the robot Chitti version or robotic arms and legs Rajni , the Winston animatronics are living up to their reputation acquired on films like Terminator or Iron Man .

In contrast, synthetic images that come from Asian studios (Hong Kong) are simply unworthy of this production. However, the initial scenes presaged the best (thank you to animatronics that camouflaged visual deficiencies). But in the final scenes where most plans are processed by computer, the defects are obvious. It touches not amateurism, but the perfection of promises are not kept and we are still far from the Hollywood excellence in this field. I do not know whether to attribute it to Shankar and Sun Pictures, as it initially announced we ILM ( Avatar ) for visual effects when the Eros-Ayngaran duo was in charge of the project. Is Sun Pictures has lacked the resources to afford the services of ILM? The question will remain unanswered. But for a film that was ambitious technically innovate and revolutionize the Indian cinema is unfortunately a lackluster result. Still, Endhiran is undoubtedly the most successful Indian film in terms of special and visual effects.

We can not end this without mentioning the critical Sujatha regretted that signed the original screenplay and dialogues of Endhiran . Assigned writer Shankar and Mani Ratnam , was a renowned author Sujatha of Tamil literature, particularly in the genre of science fiction. Endhiran draws much of his book yeen Iniya eanthira (My dear robot), influenced by Isaac Asimov . Despite his disappearance before the start of filming, Shankar has pressed the religiously Sujatha scenario to build his script. This is the main reason for the authenticity of the film, despite a genre that is totally alien to Kollywood. The film openly claimed inspiration from classics, including a friendly nod to Terminator . Despite the influences of world cinema, Endhiran manages to find its own identity through this Indian essence Sujatha was able to breathe.

Shankar has worked to make this the most entertaining movie possible, but it is truly the soul of Sujatha and strength of his script that avoid Endhiran to be an American movie remake. The writer explores fully about raising pertinent questions about the usefulness and limitations of a robot. It injects universal themes such as the clash of good and evil, and human selfishness. Chitti the robot is a kind of mirror that reflects all the qualities and lack of humanity, especially when it acquires the ability to think.

The way the script takes when creating escapes its creator, being tempted by love, gives a metaphysical dimension to Endhiran . The other essential component of this film is humor, simple and powerful. The episodes of the robot to explore the world, are marked by humorous flair Sujatha, with such obvious and amusing replicas. It knows the social consciousness of Shankar , who never fails to criticize the system failures in his films, and Endhiran is no exception to the rule, unlike the Sujatha style allows him to do so lightly.

The film does not stop the charism of Rajinikanth or charm of Aishwarya Rai Bachchan , it poses a key question about the responsibilities vis-à-vis science of humanity. Endhiran illustrates the way the phrase of Rabelais "Science without conscience is but the ruin of the soul." The film could be summarized in a riot of special effects with a scenario lacking substance, but the result is a pleasant surprise. Where I, Robot speculated on the possibility of artificial consciousness, Endhiran anticipates and goes to the next step: what happens when a robot he starts thinking? Feel free to discover it, because Endhiran - The Robot is pure entertainment that does not forget to be smart.

Endhiran , the latest film by Shankar , AR Rahman and Superstar Rajinikanth , has just come out that are already apparent in a tidal wave that sweeps away everything in its path (best of starts, record revenues, etc). And because the film is promising and most promises are kept, which was not obvious in view of the economic situation that the film crossing.

But back to the basics, the film: it's great Shankar , one finds the fabric of his other films (thus either one adheres, or hate). Being a big fan of the Superstar , from the generic I was conquered, but that does not stop me to step back to analyze a little this film, and this is perhaps one of the big strengths of this film, let us enjoy the movie and push us to question after.

The plot of Endhiran is simple enough to be understood by the greatest number: a love triangle whose stake is none other than the beautiful Aishwarya Rai Bachchan , who needs no introduction. This is not her first Tamil film and melts it very natural. I loved his game, while grace and strength. It must be said that the fair has presence and, well, it's at least what it takes to stand facing a Rajni great days.

Indeed, we find our Superstar Rajni but also, as the film was delighted to see evolve before our eyes Rajni actor. It is with pleasure that we share the emotions of the two characters he embodies. And that may be where Shankar troubled me most in his canvas I thought I discerned quite quickly.

In Sivaji - The Boss , the big bad was well defined, with music and slow motion effect, but here it becomes more subtle. He who makes enemies office serves only lever and Rajni becomes omnipotent. It is the positive and the negative, it is good against evil, emotion against reason, against the human metal. Where another actor would play the caricature of the great opposites, Rajni plays the subtlety card showing how much he is a great actor and that this title of Superstar is fully justified. As usual, he is by turns funny and punchy, but this time, there is a depth and consistency that I had not felt in Sivaji . This is probably due to the scenario holds, and that of matter, and the effective management of actors.

Endhiran takes us into an orgy of special effects rather well made, although in my opinion, I find them too abundant. The film would have gained in depth if the dosage of visual effects had been downgraded. Do not expect a Matrix and another Terminator . Although the special effects are well done, synthetic images are too present for my taste and, for once, of lower quality. But this does not affect too much the overall imaging of the film, which remains very well made ​​and has nothing to envy to the western productions. Wink or fable fan fantasy films, one aspect of the last scenes of the film made ​​me think of the famous Gremlins Joe Dante. I do not want to say more to not spoil the fun of those who have not yet seen the movie, but if this "coincidence" is not one, which I'm sure is a really friendly tribute to this cult film.

The action is really good and continues perfectly choreographed fight scenes (HS: I was completely decentralized by a stunt double of which is the beautiful Arya, this time it was a shock but n! is not the only reason I liked the scenes of fighting. Special mention to the original and really nice stage with our friends the mosquitoes! Rangusky, Cholera Jasmine and others! Delirious!

The music of AR Rahman I was not particularly affected. Maybe I had high expectations and I was a little disappointed in the end. Only the last two songs I liked Chitti, ditto for the choreography together rather mixed. None stands out from the crowd. Comedians do not have the weight of Vivek or Vadivelu and that's a shame, they turn out not bad, but still a little hungry for that side. Fortunately, Rajni provides much of gags that, for once, are funnier and make us forget those casting errors.

Endhiran addresses the theme of the humanization of machines, a theme that has been repeatedly addressed in the science fiction of course, but he does it brilliantly and the film is served by a bevy of actors at their best shape.

To return to the criticisms that have been made ​​by the French press, obviously based on the trailer, I find it a shame to label this film in the register of turnips relying solely on a few images, without even understanding the meaning (personally I have a doubt about the control of the Tamil-speaking people). For those who have seen the film, they will understand that nothing has been left to chance by Sir Shankar and an image out of context does not mean much.

At Chandrapore, India close in the grip of colonialism, are facing Islam, an attitude toward life, exquisite and durable, the British bureaucracy, intrusive and unpleasant as the sun and a handful of spotty Hindu, in a silent cold war. Until the arrival of a young English tourist is not to disrupt the fragile balance. Why Adela Quested, to the astonishment of the clan of the white sahib, not satisfied with the circles of official visits and wants to know the real India and find the perfect native guide in the mild and hospitable Aziz.

But in the caves of the trip Marabar prepared with every care is transformed to Adela, the victim of his personal concerns or unworthy insult, in a shocking drama that comes up in the classrooms of a court, exploding prejudices, racism, contradictions. The clash between two civilizations antipodal to feelings and values ​​will also find his unwitting heroine Esmiss Moor, Miss Moore for the British, the symbolic figure of an impossible peace. The human and poetic portrait of a beloved country gets the parable of the "secret intelligence of the heart as opposed to the arrogance of reason in what Forster called "my Indian novel influenced by Proust, and that is his undisputed masterpiece.

This is a novel that, like any good classic, requires a brief background to be understood. Let us turn then to the date of publication 1924, a moment of physical youth for the author Edward Morgan Forster, but definitely not of youth expression, given that A Passage to India corresponds to the highest point of his literary parable. In 1924 the process of dismantling of the English colonies is still far away. India will be declared independence only in 1947 remember, after at least two and a half centuries of British colonial monopoly, yet Forster proves gifted prophetic. The British writer tinged with a portrait in sepia India before the war, who had got to know personally during two long stays in the country, the second of which as Secretary of the Maharajah of Dewas.

After this brief introduction, we can move on to the novel, A Passage to India is set in the early 20s, the time of the early Indian independence movement. The story, modernistic in content but not in form, involves the fates of several characters, among which the undoubted protagonists Fielding and Aziz: the first British professor, installed in India by too little time and too open-minded for having internalized the paradigm colonial, and the second Indian doctor, too informal and spontaneous stereotyping the white race. 

At Chandrapore, of which split in two worlds the clean and formal, British, and that dirty and poor, Indian, the first chapter gives a wonderful description, gains two intrepid British women: Adela Quested, a young teacher came to India to marry British official with whom she is engaged, and the mother of the latter, old Mrs. Moore. 

Both want to see the real India , not the transformed and tamed by the British; the random encounter of Mrs. Moore with Dr. Aziz, a mosque, and the sudden mutual sympathy that emerges, leading to a cosmopolitan tea organized by Government Fielding Institute, attended Aziz-which has just conosciuto- Fielding, Adela Mrs. Moore and a Brahmin, Godbole. Aziz lets it slip that will invite the two women to see the caves Marabar, visible from the city of Chandrapore, and to overcome the natural distrust British Adela manages to convince her boyfriend Ronny to let her take the tour. 

Unfortunately, the cultural gap, the mysteries of India, and an abyss of prejudice on both sides turn the trip into a tragedy: Adela, after coming out from one of the caves in a state of shock, claims she was assaulted by Aziz, who has not the slightest idea of what happened. And 'This is yet another excuse for a clash between races: the British want to put on an exemplary process to annihilate the Indian population, while the latter arises to protect one of its members the absurd accusation. 

Fielding is located between the crossfire, and having to choose is opposed to his countrymen; his is the only voice of reason in a world of chaos, because he refuses to believe such a capable Aziz wickedness, but also Adela had lied deliberately.

What really happened in the caves, since the author uses the narrative device of the hiatus? If you ask the players, competing in the most varied interpretations, but a shrewd critic had the presence of mind to ask directly to the author when he still could not answer:

Remember, however, that in the end, this is a modernist novel, although very formal conventions related to late-nineteenth century; do not try therefore a highly structured plot, and we focus instead on the vivid (and precision) exciting and extraordinary with which Forster paints landscapes and customs Indians in the opening chapter and the epilogue, are among the most memorable in I've ever come across. 

Wonderful also the skill with which they are painted the characters: the impulsive Aziz, bizarre, emotional and moody; Fielding, a man of spirit, rational, open, respectful of the cultural and ethnic diversity (one of his memorable phrase which horrifies the entire Circle English which insinuates that the white race does not exist, because more than anything else is gray pink Adela, modern, emancipated, always ready to scrutinize their innermost thoughts to analyze them.

Mrs Moore, initially good-natured matron nice and open, but that the progress of the novel becomes almost mysterious Indian deity, in connection with a supernatural voice that only she can hear; Ronny Heaslop, the prototype of the British official, intimately convinced of his cause of civilization and of the superiority of their own race; Godbole, mystic Brahmin subject to inscrutable laws, almost alien to our pathetic and rigid world.

Forster has no illusions, and do not hesitate to stage a fierce critique of the colonial system, as well as his disillusionment: the peaceful coexistence between the two races is impossible; an Indian and an Englishman will be able to be friends only when the last occupant has left the British Indian soil. The author shows voice tolerant and non-conformist, which ascertains and condemns the presence of barriers and racial prejudices, holding at the same time an ear to the voice of otherness that he too, as a homosexual in a society bourgeois, was a member.

Passage to India is a British-American 1984 film, directed by David Lean starring Judy Davis, Peggy Ashcroft and Victor Banerjee in the lead roles. Based on the novel by EM Forster. The story takes place in 1920, during the growing influence of the Indian independence movement in the so-called British Raj.

Adela Quested (Judy Davis), accompanied by Mrs. Moore (Peggy Ashcroft) are two British ladies who start traveling to India to visit Ronny Heaslop (Nigel Havers), a local magistrate of a provincial town, Chandrapore. Heaslop is the son of Mrs. Moore and Adela's fiance.

Back in India, both ladies show their interest in knowing the culture and the native inhabitants. The education superintendent, Richard Fielding (James Fox), presents an elderly and eccentric scholar Brahmin , Professor Godbole (Alec Guinness). The British community site advises that it is better to take away with the natives. However, during a visit to a mosque nearby, Mrs. Moore meets Dr. Ahmed Aziz (Victor Banerjee), an impoverished widow, who later presented to Adela. The doctor was completely assimilated into the British way in speech and in his dress.

On one occasion, both ladies express their boredom by way of colonial life of the British community, including the ritual of tea at five in the afternoon, the cricket , and the pole ; Dr. Aziz is offered as a tour guide in remote caves Marabar.

The trip is organized, and already in place exploring the caves begins. Soon, Mrs. Moore suffers a sense of claustrophobia , which forces her to return to the outside; then convinces the others to go on without her.

Adela and dr. Aziz continue exploration, and before entering a remote cave, the doctor stops to smoke a cigarette. When finished smoking, he goes in search of Adela, but only currency in the distance, hastily running downhill, bloody and disheveled. Just back to town, the doctor is arrested, accused of attempted rape. This causes an uproar among British and Indian, which extends between the British community in India.

There comes a time trial, and Mrs. Moore declares his belief in the innocence of the doctor, and states that no declared against him. Returning to England is resolved, but during the journey suffers heart attack and dies, performing his funeral at sea. In India, the situation changes when, to the consternation of Judge Ronny Heaslop and all British, Adela drops charges against the doctor.

All British community is forced to a shameful retreat, as they see the Indians are taken to exempt from the courtroom, amid cheers, carrying him on their shoulders. Consequently Adela breaks her engagement to Heaslop and leave India. Dr. Aziz leaves behind his British customs and their relationships with them, and removed to the north of India, wearing their traditional clothes, to open a clinic there. Years pass and Dr. Aziz remains resentful and bitter, but eventually wrote to Adela to convey their gratitude and forgiveness for what happened.

Arjun, bloodied, collapses and recalls three kids, Arjun Singh, Shekhar Srivastav and his little brother Raghu, do 400 rounds in the streets of Mumbai. An adventurous life and risky to steal soda bottles. Arjun's father, committed trade unionist, sees a dim dating her son. Ditto for Sanjana, and her little sister love Shekhar and Raghu. One day the father of Arjun was assassinated by a mafia gang. The three friends go on an expedition to avenge him. Arjun being unable is Raghu holding the weapon of sacrifice and helps his friend to escape the city, sealing that day an unbreakable friendship between them.

12 years later, Arjun (Aftab Shivdasani) has built a new developer of life when the police found him. She puts her hand market: prison or infiltrating the gang of brothers Srivastav to identify drug suppliers they sell. Arjun agrees hoping to pay his debt and save his friends Shekhar (Rahul Dev) and Raghu (Emraan Hashmi). Returning to the scene of his childhood, he will plunge at the heart of this violent world, corrupt and ruthless, illuminated only by the beautiful Sanjana (Bipasha Basu).

Footpath is a dark film, including musical scenes. Needless to seek in comedy or humor. Anyway, it's not too kind of Vikram Bhatt, director, whose dramas (Aetbaar) are the most successful comedies (Deewane Huye Paagal). The special feature of this film, which stands out is its actors. They are remarkable.

First Arjun Singh: the good hero plunged into violence that he never sought. Aftab Shivdasani built her character with precision and delicacy. Certainly, one does not escape some big eyes or under stunned or dazed, but overall you really believe in his character, torn between friendship, love and duty. Aftab endorses the clothes of his masterfully hero and brings a touch of very well measured despair. This is probably one of his best roles.

Then there Shekhar, the villain desperate to get out. Willing to sacrifice what he most sacred in the name of success, money. Rahul Dev has not to force too much so it has the head of employment. It is an unpleasant and unhealthy character but knows his interpreter put sparks of affection. And one can not help but wonder if his fate would have been different if he had not had to take two lives his own and that of his brother in his youth. In a way, we come to the complaint. Note that Rahul Dev got for this role a Zee Cine Award in the category of best villain.

But the most formidable of the three is Raghu. Footpath is the first role of Emraan Hashmi in civil, nephew of Mahesh Bhatt, screenwriter of the film. For a start, it's very strong and manages to give an amazing dimension to this character, to twirl between his masterfully healthy and unhealthy aspects. I have no memory of another interpretation of this quality home. Raghu is good villain. First he remained a child, perhaps because of what crime he committed in the name of friendship and which halted its development. At first glance, one might say that he violence in the blood. But we can also say that his crime, he accomplished without much reflection, by rebellion and friendship, as can make mistakes when we are young.

And this has changed his life. Raghu is clearly crazy. He extreme violent outbursts and reflections kid, a kid smile. Unlike Shekhar, he never had responsibility, he always acted impulsively, under the wing of this big protective brother. He is a character at once terrifying, unpredictable and endearing. Her life is guided by a few simple ideas revolving around the friendship and affection. He lives now without seeking coherence to this world. Thus, for example that it is revolted by the dealers when a friend dies of overdose while his brother and live it to the same traffic. Raghu is Peter Pan in the slums of India.

Last member of this quartet, Sanjana. Bipasha Basu is quite convincing in interpreting this girl to the martyred youth, who managed to build a peaceful life car saleswoman and plunges through love amidst the demons of his childhood. Besides being extremely beautiful and radiant, it offers a very realistic and sensitive playing. It is the light of heaven (she is also often dressed in blue) at the end of the tunnel. Anecdotally - although not that much - her voice was dubbed for the film by Mona Shetty, who had already done for Raaz (which also doubled Amisha Patel).

In the supporting roles we see Irfan Khan, equal to itself that is to say excellent. His appearance naturally reserved, allows him to camp without forcing its role as sponsor sneaky.

Side scenario, it has a history that is certainly not very original but it is not bored during the 2:40 movie. Vikram Bhatt and Mahesh Bhatt writer drew inspiration from the Angels in the Night (State of Grace) Phil Joanou, with Sean Penn, Ed Harris and Gary Oldman as well as a film Mahesh Bhatt, Angaaray with Akshay Kumar. And looking Footpath , there was no doubt about the Indianness of this scenario. Is it due to the universality of the subject or the talent of the writer? Probably both. But there is something else.

This story can be seen as a reference to Bhagavad Gita, the Indian equivalent of the Bible (it's also on her swear witnesses in trials in India). The hero of Footpath is Arjun. In the Gita, Prince Arjuna must confront and kill his family. He rebelled at the idea and it is Krishna, his squire, who will explain what his duty and what it means. For the world order for the dignity of all, the massacre to take place. Again, for the same reasons, the massacre to take place. And Arjun knows and even if he tries to deceive himself by imagining to save his friends, he knows he is the destroyer when he accepts the deal.

The music, played by a string of good singers (Abhijeet Asha Bhosle, Udit Narayan, Alka Yagnik), fits perfectly with the history and effectively rhythm chorus highlights of the film. His melodies help strengthen the climate of anxiety and painful Footpath . But as soon as the credits are over, we forget. In fact, it is an integral part of the film without being able to consider it as an independent work. Shravan Rathod and Nadeem Saifi, to whom we must also Mere Jeevan Saathi, Dosti: Friends Forever and Bewafaa do work quite estimable. Himesh Reshammiya has composed music for the soundtrack.

If there is nothing special to say about the staging that is efficient and clean but not very original, for two points against merit attention: the photograph and sets.

The photo is provided by Pravin Bhatt, Vikram's father, who, besides his participation in the film of his son, has a long career behind him ( Agneepath, Umrao Jaan ... ). It was in Footpath a great job of color. Most of the scenes take place at night or indoors. The tones are in brown, green and especially blue twilight, sometimes bathed in a kind of fog which is unknown if this is pollution or fog. The color clearly a function and it is one of the pillars on which Vikram Bhatt is based.

Another pillar and another amazing work decor. Much of the film takes place in a street that seems to close in on itself. At one end there are some Gothic arches. It was nice to turn right and left, we always come back to this street. It is a rectangular closed ended. A lane from the street and a porch with a grill brings in a courtyard. This geometric construction strongly feels the studio (by itself, the only plateau street cost 15 million rupees).

Passers advance along almost in a line (no pun intended). The cars follow the same speed and are perfectly aligned. It's like an American movie of the 40s on prohibition. Clearly nothing to do with the reality of Mumbai, far more disorderly. Details of apartments for the interior scenes overlook this street. In short, all these combined elements, decor, colors, create a climate a little dreamy, sultry and oppressive. This use of decor evokes what Hitchcock did for Rear Window  : the decor is the fifth actor.

In the end, it was a film that, without being exceptional, deserves to be seen and certainly deserves more than the little success he had. First and foremost for its players whose osmosis is remarkable but for a scenario quite well built and the distance. In any case, in my view, a film to be discovered for those who are a little tired of the repetitive game Emraan Hashmi in his last films, if not in all his films post Footpath.

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